Buchloh, conceptual art.pdf - Course Materials Repository
Buchloh, conceptual art.pdf - Course Materials Repository
Buchloh, conceptual art.pdf - Course Materials Repository
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Conceptual Art 1962-1969 137<br />
Haacke after 1966. In fact an institutional critique became the central focus of all<br />
three <strong>art</strong>ists' assaults on the false neutrality of vision that provides the underlying<br />
rationale for those institutions.<br />
In 1965, Buren-like his American peers--took off from a critical investigation<br />
of Minimalism. His early understanding of the work of Flavin, Ryman,<br />
and Stella rapidly enabled him to develop positions from within a strictly<br />
painterly analysis that soon led to a reversal of painterly/sculptural concepts of<br />
visuality altogether. Buren was engaged on the one hand with a critical review of<br />
the legacy of advanced modernist (and postwar American) painting and on the<br />
other in an analysis of Duchamp's legacy, which he viewed critically as the utterly<br />
unacceptable negation of painting. This p<strong>art</strong>icular version of reading Duchamp<br />
and the readymade as acts of petit-bourgeois anarchist -<br />
radicality while not<br />
necessarily complete and accurate -allowed Buren to construct a successful<br />
critique of both: modernist painting and Duchamp's readymade as its radical<br />
historical Other. In his writings and his interventions from 1967 onwards,<br />
through his critique of the specular order of painting and of the institutional<br />
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Daniel Buren. Installation at the<br />
Guggenheim International Exhibition.<br />
1971.